Gurbani Raag Suhi

Suhi is classified in the Ragmala as a raoni of Nfeglta.
It was a favourite with Muslims and was considered proper for the hot season. Tociav
this raga belongs to the Ktifi thata and its performance time is late morning. In the
Holy Book one variant is given, Raga Suhi Lalit. Sfilii was used by Guru Nanak, Guru
Angad, Guru Amar Das, Guru Ram Das and Guru Arjan for 130 hymns, a var plus many
slokas.

This is morning raga and a happy one. The Gurus have composed hymns concerning married life in this raga. These are Ghorian, Lavan, Suchaji, Kuchaji and Gunwanti. There are several references to the life of the householder and particularly to the condition of the housewife. Her longing for her spouse becomes very keen and irresistible, as the night deepens:
“I have neither beauty now bewitching eyes nor decent manners, now sweet speech.
The bride bedecks herself with divine knowledge.
If her spouse loves her, she becomes a happy wife”[11].

Aroh : Sa Re Ga Nla Pa, Ni Dha Ni Sa

Avroh : Sa Ni Dha Pa, Nla Ga, Re Ga Re, Sa

Vadi : Pa

Samvadi : Sa

Introduction :

This raga is also called raga Suha and raga Suhbi and is listed as a consort of raga
Meg. It is made up of a union of raga Bharvi, Sri, Kanra and Sarang. Some musical schools list it as
a daughter-in-law of raga Bharay.

This raga under its present name is not mentioned in the Ragamala listed at the end of
Guru Granth Sahib. The raginis of raga Meg mentioned in the ragamala are: Sorath, Gaud, Malarai, Asa
and Suho. Many authors are of the view that Suho is raga Suhi.

The vadi (most popular) note is 'pa' and samvadi (second most popular) note is

This raga is sung at the first part of the day i.e., from 6 a.m. to 9 a.m. The season of
its recitation is spring (basant) i.e., during February and March. In Guru Granth Sahib it has hymns
from pages 728 - 794 (65 pages).

The Composers:

The composers of bani (hymns) in this raga are:

Gurus

Guru Nanak

Guru Angad

Guru Amardas

Guru Ramdas

Guru Arjan Dev

Bhagats:

Kabir

Ravidas

Farid

The Structure

The sequence of the structure of compositions in this raga are:

Gurubani:

Shabads (1,2,3,4, and 5 padas)

Shabads ( 8 padas Ashtpadis)

Shabads (Chhants)

Shabads (Specialist compositions)

Shabads (var)

Matrix

VISUAL ANALYSIS

Count of the use of Managals:

Complete Mool Mantar = 1 at page 728

Ik-ongkar Satgur Prasadh = 42

Placement and count of rahau verses:

All shabads and ashtpadis have rahau verses with numerals and are placed at the end of
the first padas of the shabads. Specialist compositions 'Suchajji and Kuchajji of Guru Nanak and
'Gunwanti' of Guru Arjan have no rahau verses in them.

The Bhagat Bani has rahau verse with numerals and is placed at the end of the first
padas of the shabads.